 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Bob D: Re: The most interesting statistic to me was the percentage of soundtracks purchased only after viewing the film. That percentage increased from 42% for those with under 10 years of collecting experience to 62% for those with over 40 years on experience. I'm not sure how to interpret that. It could just mean that older collectors have seen more films than younger ones, and so naturally more of their purchases (particularly of older scores) would be made after they had seen the film. But if the respondents were thinking about purchases of new scores to current films when they answered that question, it could mean that older collectors are less willing to take a chance on a score for a current film without seeing the film first.
Or it could mean that those with over 40 years of experience have more disposable income than those with under 10 years of experience. It's certainly the case with me.
I look forward to reading this.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
 |
Posted: |
Jun 27, 2014 - 12:01 PM
|
|
|
|
By: |
Morricone
(Member)
|
Bottom line I think. When I was young I was curious about "other" soundtracks and composers but didn't have the means to explore. I didn't bother to dwell on it. Now I can, to a certain extent, indulge myself.
Doesn't this argument run counter to the findings?
"... the percentage of soundtracks purchased only after viewing the film. That percentage increased from 42% for those with under 10 years of collecting experience to 62% for those with over 40 years on experience."
To me this stat implies that older collectors are more discerning with their purchases, and therefore less likely to pad their collections with blind buys despite having more disposable income.
Yes, you are right. Labels should ignore me or Ron and focus on the small group of composers that "fans" have followed since their youth. And as these collectors become older those composers will change faces. And of course centering on the biggest money making films these people have made, not necessarily their best scores.
But for me if there is anything I have learned from Jerry Goldsmith or Elmer Bernstein, or for that matter Alfred Newman or Franz Waxman, or even Ennio Morricone or Alexandre Desplat, is to keep inspired and alive in your music you have to move on. Even someone as lucrative as John Williams has to shift gears and join an Oliver Stone or John Hughes or do a SLEEPERS or SEVEN YEARS IN TIBET to get focused and try to remember why you wanted to do this in the first place. So when there isn't much that inspires me on the superhero movie front I look overseas (where I discovered Desplat and now Banos) or gaming where Mr. Wintory is flowering. That is how I recreate those moments as a kid, discovering new wonderful music! Much more than just playing the stuff I played a million times and trying to remember how I felt.
|
|
|
|
|
|
|
|
 |
Posted: |
Jun 27, 2014 - 1:02 PM
|
|
|
|
By: |
Mike Esssss
(Member)
|
Yes, you are right. Labels should ignore me or Ron and focus on the small group of composers that "fans" have followed since their youth. And as these collectors become older those composers will change faces. And of course centering on the biggest money making films these people have made, not necessarily their best scores.
Sorry but what are you getting at here? I didn't say anything to which this would be remotely responsive. In fact I agree with your sarcasm. I just wonder who was making the point you're attacking.
But for me if there is anything I have learned from Jerry Goldsmith or Elmer Bernstein, or for that matter Alfred Newman or Franz Waxman, or even Ennio Morricone or Alexandre Desplat, is to keep inspired and alive in your music you have to move on. Even someone as lucrative as John Williams has to shift gears and join an Oliver Stone or John Hughes or do a SLEEPERS or SEVEN YEARS IN TIBET to get focused and try to remember why you wanted to do this in the first place. So when there isn't much that inspires me on the superhero movie front I look overseas (where I discovered Desplat and now Banos) or gaming where Mr. Wintory is flowering. That is how I recreate those moments as a kid, discovering new wonderful music! Much more than just playing the stuff I played a million times and trying to remember how I felt.
It seems like we're talking past each other. The only point I was addressing was the statistic quoted that a higher percentage of older collectors see the movie before buying the score. To me that suggests that older (let's say "longtime," which is more correct) collectors don't feel a compulsive need the way newer collectors do to own any and everything. I tried to be careful (evidently not careful enough) to point out that longtime collectors are no less curious or willing to explore, but we're discerning enough that we often like to hear a score in context.
If anything, as I think about it, you're helping my point when you talk about the need to open yourself to new wonderful music. It used to be that I would quickly become a completist for any composer I liked. Anyone. If heard two or three scores I liked, I'd get as many as I could by that composer. I think a lot of us had that same experience. Now, I'm only interested in finding music that I like. It can come from anywhere. It doesn't have to come from composers I already know. Many times it will come from watching a movie where I hear something I like and seek out the score/composer. This kind of mindset just seems to be what the statistic is illustrating, is all I'm saying.
ETA: Just to clarify, the "blind buys" reference in my previous post was meant, for example, as in gobbling up every score by a certain composer just because, with no regard for the music. It was not meant in the sense of being unwilling to try something new.
|
|
|
|
|
|
|
|
 |
Posted: |
Jun 27, 2014 - 1:40 PM
|
|
|
|
By: |
Morricone
(Member)
|
It seems like we're talking past each other. The only point I was addressing was the statistic quoted that a higher percentage of older collectors see the movie before buying the score. To me that suggests that older (let's say "longtime," which is more correct) collectors don't feel a compulsive need the way newer collectors do to own any and everything. I tried to be careful (evidently not careful enough) to point out that longtime collectors are no less curious or willing to explore, but we're discerning enough that we often like to hear a score in context.
If anything, as I think about it, you're helping my point when you talk about the need to open yourself to new wonderful music. It used to be that I would quickly become a completist for any composer I liked. Anyone. If heard two or three scores I liked, I'd get as many as I could by that composer. I think a lot of us had that same experience. Now, I'm only interested in finding music that I like. It can come from anywhere. It doesn't have to come from composers I already know. Many times it will come from watching a movie where I hear something I like and seek out the score/composer. This kind of mindset just seems to be what the statistic is illustrating, is all I'm saying.
ETA: Just to clarify, the "blind buys" reference in my previous post was meant, for example, as in gobbling up every score by a certain composer just because, with no regard for the music. It was not meant in the sense of being unwilling to try something new.
Got it now, thanks.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
